Taiwan has expanded its promotion in foreign market to advertise its cinema and educate its film professionals. Cooperating with La Biennale di Venezia and Festival de Cannes,
Taipei Film Commission has organized programs like Taipei Factory for networking, encouraging co-productions and introducing locations. Meanwhile, for the last several years,
Vietnam has attracted numerous foreign investors to its dynamic film industry, which has grown by more than 15% per year. However, its domestic film market remains at the level
of 5 million USD, while there are only about 10 films per year produced by Vietnamese capital. The Arab world continues its effort in developing its film industry. Qatar, for example,
holds the Ajyal Youth Film Festival annually and has funded over 200 films.

In the second session of 2015 Asian Film Policy Forum, Asian film policymakers will examine marketing and distribution policies of three countries that represent different
regions of Asia – Far East, Southeast, and Middle East – in order to learn from their film industries, and seek resolutions to their limitations through cooperation among Asian countries.

"Due to its enormous potential, Asian film industry is destined to accomplish a rapid advance once Asian countries cooperate with each other for opportunities."
This was mentioned at the conference called "The New Silk Road of Asia's Film Industry: Challenges, Opportunities and Partnership" in the 2015 Hong Kong Filmart.

Established in Berlin, European Film Promotion (EFP) has incorporated 36 institutions from 35 European countries since February, 1997. In order to exercise a
stronger influence, the founders of EFP were motivated to enter non-European markets as one bloc of Europe rather than as an individual country. As an international network of
film-promotion organizations, EFP has been active in numerous fields, such as advertising European cinema and providing film education for future European producers and actors
/ actress.

Amidst the recent cultural phenomenon of global integration, it is now the time to sound out on the possibility of co-promoting Asian cinema. By forming an Asian bloc
based on EFP, Asian cinema can stimulate co-productions while maintaining its identity and strengthening its competitiveness. Under the main theme "United power of Asia",
the first session of 2015 Asian Film Policy Forum will examine the management and programs of EFP, in order for Asian film policymakers to consider the necessity of and expectation
from founding Asian Film Promotion (AFP).

In 2009's world film market, home video occupied more than 50% of market share, while box office and digital distribution had 36.7% and 7.8%, respectively.
In 2013, however, home video market shrank to 41.2% of the entire share, and digital distribution expanded its share up to 14.9%. As this trend continues, digital distribution is
expected to exercise even more influence in 2018 by taking the world market share of 29.7%, according to the Korea Creative Content Agency's 2014 report.

The analysis of these results suggests that the consumption pattern has moved rapidly toward digital platforms, and most related markets have witnessed the rise
of pay-per-view TV, online download, and VOD service. Also, online streaming service platforms like Viewster and Netflix has demonstrated their capabilities by overcoming the
shortcomings of the traditional methods of film distribution.

Along with the representatives from three international companies – ASTRO, Malaysia's largest direct broadcast satellite pay TV service; Totem, Australia's digital consultancy
and Youtube's partner; Google, the world's largest information and technology (IT) company – the third session of 2015 Asian Film Policy Forum will examine the present and future
of transmedia, in order to explore the potential of this new channel influencing Asian cinema.